c 

C49UJ 
ser.2 
no.  15 


University  of  Cincinnati 


Bulletin  No*  15. 


Publications  of  the  University  of  Cincinnati^ 
SKRiKs  II.  Edited  by  HOWARD  AYERS.  voi..  li. 


The  Use  of  KEKAWIAAl  and  the 

Meaning  of  Euripides, 

Hippotytus  t-2. 

J.  EL  HARRY 


The  University  Bulletins  are  Issued  Monthly 


Entered  at  the  Postoffice  at   Cincinnati,   Ohio,  as  second- class  matter 


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University  of  Cincinnati 

Bulletin  No.  J5* 


Publications  of  the  University  of  Cincinnati. 
SeriBS  II.  Vol.  II. 


The  Use  o/KEKAHMAI,  and  the 

Meaning  of  Euripides, 

Hippolytus  t-2. 

%'f 
J.  E  HARRY 


The  University  Bulletins  are  Issued  Monthly 


Entered  at  the  Postofficc  at    Cmcinnati,   Ohio,  as  second-class  matter 

UNIVERSITY  PRESS 

CINCINNATI,   O. 


THE  USB  OP  KEKAHMAI,  AND  THE  MEANING  OP 
EURIPIDES,  HIPPOLYTUS  1-2. 

A  paper  read  before  the  American  Philologfical  Association 

at  Union  College,  Schenectady,  N.  Y., 

July  9,  1902. 

We  Americans  have  been  charged  recently  with  expend- 
ing a  superfluity  of  energ}^  on  syntactical  studies.  Possibly 
the  charge  is  well  founded;  but  certainl)'^  an)^  real  contribu- 
tion to  our  knowledge  of  the  facts  of  the  Greek  language 
should  be  welcomed,  not  condemned.  We  want  to  get  at  the 
secrets  of  the  masters  of  expression  at  almost  any  cost.  To 
the  tyro  who  seeks  to  establish  and  interpret  the  text  of  a 
Greek  play  probably  nothing  causes  greater  surprise  than  the 
diversity  of  opinion  among  scholars  as  to  the  meaning  of 
certain  passages.  Editors  differ  not  only  from  one  another, 
but  also  from  themselves;  and  the  ScvVcpat  c^povrtSes  are  not 
always  o-oc^wrfpai.  Hermann  contended  for  years  against 
Welcker's  theory  of  a  Promethean  trilogy,  only  to  desert  to 
the  enem3^  at  the  last  moment  in  a  way  that  shows  his  heart 
^^*^ '  may  have  been  in  the  other  camp  for  some  time :  '  'Communis 
opinio  est  de  cuius  veritate  non  videtur   dubitandum   esse, 

trilogiam  fuisse." 

Perceptions  contradict, 
Convictions  come,  anon  depart, 
And  but  themselves  as  false  convict. 
;;>  Assumptions,  hasty,  crude  and  vain, 

^  Full  oft  to  use  will  science  deig-n. 

As  Lessings  says,  it  matters  not  whose  the  false  assumption 
is,  if  onl}^  b)^  its  aid  we  arrive  at  the  truth. 


^ 


There  are  four  current  interpretations  of  the  first  two 
verses  of  the  Hii)i>olytus.  The  primary  aim  of  this  paper  is 
to  show  that  three  are  false  and  the  fourth  but  partly  true. 
Two  of  these  views,  'HpoSoTtKcos  Ac'ywv,  I  deem  scarcely  worthy 
of  mention,  "  j"-"^  oaov  arjixrjvaL  /3ov\6fji€vo<s  fJiovov:  (l)  that  ttoWt]  .  .  . 
KovK  avtuw/xos  is  equivalent  to  ttoXvwvu/xos  kovk  avu)vvixo<;  and  (2) — V  ^' 
iTept)  avc7n(TTrifxov€aTepr]  fxiv  icrxL  t^s  AcXcy/xevT^s,  Xoyo)  8'  etTrctv  OavjxaaKOTeprj 

— that  K€K\y)fxaL  means  invocata  sum.  The  reg^ular  word  for 
invoke^  preserved  even  in  Modern  Greek  is  IttikoXCiv.  Cp.  Bike- 
las,  AovKi}?  Aapa?,  H  lTnKoXovpxx.i  Tr)v  (rv/JLTrpa^tv  Tov^  linKaXiaB-qv  Trjv 
(iorjBeuxv   tov  ©eou,      Hdt.    3.65   0^ov<;  Toivq  ^acnXr}Lov<;   tTriKaAcW,    8.64 

TcXa/xoiva  cTreKaXeWro.  That  the  simple  verb  may  be  used  for 
the  compound  is  patent :  rov'i  Oeovs  KaXovfieOa  (Aesch.  C/io,  201). 
But  the  third  theor}^  since  it  is  held  by  some  of  our  best 
scholars,  seems  to  demand  more  serious  attention,  and,  like 
the  opinion  of  Herodotus  with  reference  to  the  cause  of  the 
overflow  of  the  Nile,  can  be  shown  to  be  incorrect  onl)^  b)^ 
an  exploration  of  the  sources,  not  by  g-uessing-,  but  by  secur- 
ing trustworthy  data.  The  supporters  of  this  view  conceive 
that  there  is  a  twist  in  the  sentence,  that  Kuripides  did  not 
proceed,  as  usual,  straight  to  the  goal,  but,  like  the  mules  of 

Achilles,     ttoXXo.    8'   avavra   Karavra  irdpavTa   re    8o;(/u,ia    t    yXOov — in 

short,  that  we  have  not  here,  in  the  very  opening  of  a  master- 
piece, the  well-known  roUinda  vohibisgue  sententia  of  Kuripi- 
des, but  a  disjointed  Browningesque  utterance,  peculiar  in 
punctuation,  peculiar  in  elucidation.*     I    shall    waive    the 

consideration    that    ^vrjOe^    tovto    ye    ^aveir)    av    Koi    ovk     EupiTrtSov 

(**past  dispute  the  verse  slips  oily-bathed  in  unctuous 
music"),  since  there  are  weightier  reasons  for  believing  that 
no  such  volcanic  disturbance  of  the   smooth   surface   of   the 


*Cp.  Ar.  Rhet.  3.  5.  6  oAto?  Sc  Set  tvamyi/oio-roi'  cmxt  to  yey pa fxfiivov 
Kul  €v<f>pacrTOV^  ovSe  a  fxrj  fmStov  BiacrTLtat  u)OTrep  to.  'llpuKXiiTov'  to.  yap 
'HpaKXtLTOv  SiaaTL^at  tpyov  Bui  to  dByXov  tlvuL  TTOTepio  TrpocrKarai,  tu> 
v(TT€pov  rj  TO)  irpoTtpov  The  ICuripidean  order  of  words  reproduces  the 
natural  se^iuence  of  ideas. 


Kuripidean  current,  as  Weil  and  Earle*  suppose,  exists,  and 
if  my  contentions  are  correct,  we  can  say  with  Herodotus 

again  :  y  Se  rpLrrj  Twv  oSwv  TToWov  eTrtetKecrraryy  iovaa^  fxaXio-Ta  eif/evaTai. 

In  the  first  place,  the  poet's  object  is  not  to  inform  his 
audience  how  renowned  the  ^ea  is,  but  who  she  is  (since  this 
is  the  first  question  that  the  observer  naturally  asks  himself), 
just  as  in  vase  paintings  of  the  archaic  type  the  goddess  is 
labelled  A^POAITH  for  the  information  of  the  beholder.  So 
the  beginning  of  Hercules  Furens  :  T15  rov  Ato?  crvWtKTpov  ovk 
olSev  ^poTOiv  I  'Apetov  *Afx<f>LTpvo)v^  ov  'AAKatos  ttote  j  €ri')^B  6  Ilepo-ew?^ 
irarepa  tovS^  'HpaKAeovs ;  which  von  Wilamowitz  well  translates  : 
"Wer  kennt  ihn  nicht,  der  seines  weibes  liebe  mit  Zeus  ge- 
teilt,  Amphitryon  von  Argos,  Alkaios  des  Persiden  Sohn,  den 
Vater   des   Herakles?   ich   bins."      So   the    opening   of   the 

Hecuha  :  Hkw  vtKpZiv  Kev^/xwva  Kat  CJKOTOV  TrvAas  AtTrcov  .  .  .  IIoAv- 
So}po<;,  'EKa^r/9  Trat?  yeyws,  and  of   Trocides :     'Hk(u  AtTroJV  Atyatov  a.\p.v- 

pov  (SdOo<;  I  TTovTov  IIo(7€t8coi/.  Similarly  Hermes  in  lofi  tells  who 
he  is  by  naming  first  his  mother  and  grandfather,  then  him- 
self and  his  office,  and  finally  his  errand,  as  in  many  Euripi- 
dean  prologues.  Compare  Andromache  (a4>LK6fxr}v  ,  .  .  'AvSpo- 
fJ-f^Xv)  and  Bacchce  ("Hkw  Atos  TraTs  .  .  .  Atovvo-o9)t.  In  Helena^ 
after  an  explanatory  introduction  of  twenty-one  verses,  the 
speaker  tells  who  she  was  {'EAeV?;  iKki^drjv,  Cp.  Ar.  Thesm. 
862),  using  the  same  verb  as  Kypris  in  Hipfolytus.  In  Iphi- 
genia  in   Tauris  the  whole  line  of  Pelops  is   traced :   IleAoj/^ 

.    .    .    Oivo/xaov  ya/txet  Koprjv,    ii   ^s  'Arpeiis  cySAacTTev      'ATpew?  Sk  Trat?  | 
MevcAao?  'Aya/x,e/x,v(ov  re-  rov  8'  €^w  eyw.        So   in  OresteS  5-23  :     Zev9 
.    .    .   TavraAo?   .    .    .    UeAoi/^   .    .    .     'Arpevs    .    .    .    'Aya/xe/xvwv   .    .     .    cS 
TrapOivoL  fx€v  rpeis  iffivfxev  ck  /xtas  Xpv(T6$€fXL<;  'I</)ty€Veux  t   'HAcKTpa  r'  cyw. 


*The  chief  supporters  of  the  theory.  Mahaffy  and  Bury  merely 
echo  the  French  scholar.  Von  Wilamowitz  g-ives  the  sense  (In  himmel 
und  auf  erden  kennt  man  mich  und  meiner  gottheit  wirken  Aphrodites), 
but  does  not  commit  himself  by  his  translation  to  either  Weil's  or 
E^arle's  explanation. 

tCp.  Ar.  Rhet.  3.  14.  6.  Kat  oX  rpayLKol  SrjkovaL  Trepl  to  Spa/xa,  kulv  fxrj 
evdvq  w(nrep  EiupiTrt  St;?,  aAA'  iv  ro)  TrpoAoyw  ye  ttov. 


In  each  instance  the  purpose  of  the  speaker  is  to  acquaint 
the  audience  with  his  identity.  But  the  most  instructive  of 
all  for  our  passage  is  the  prologue  of  the   PhcenlsscE  :     Ka8/xo? 

...  OS  HoXvhuipov  ii€<f>vcre^  rov  Sk  AafSSaKOv  cjjvvac  Xeyovatv^  ck  Sc  tov- 
Se  Aatov.  |  eyw  Sk  Trais  fxkv  KXi^^OfJuit  MevoiKecos,  |  Kpecov  t'  aStX(fib<; 
fJi7)Tpb<s  €/<  fxias  i<t>v  I  KaXovcrt  8'  'loKacrrTyv  /xe,  tovto  yap  naTrjp  |  Wero 
(5-13).  The  positive  statement  is  made  that  'loKao-rry  is  her 
name,  not  <^v(ret,  but  Oeaei  (Trarrjp  eOero) ,  We  are  in  an  atmos- 
phere of  Oeaeis.  She  is  7'epuied  to  be  the  daughter  of  Menoi- 
ceus  (<l>vvai  XeyovcTLv).     Hence  we  are  not  suprised  to  find  KaXova-L 

'loKao-TT/v  /x€,  instead  of  KiKX-qjxai  'loKOLO-Tr}, 

In  the  second  place,  if  ttoXXt]  KeKXrjfxaL  be  understood  as 
equivalent  to /u-eya  €;)(a)  TO  ovoju,a  (Karle),  or  ttoXv  p-ol  kX€o<:  Igtlv 
(Weil),  ovhk  7r/3os  €vtx  Xoyov  cfyatvcTat  ip^/^e/SXYJaOai  to  /u-eV,  and,  as  Aris- 
totle says  {^JRhet.  3.  5.  2.)  o  p^kv  koI  6  iyoi  /xeV  dTrairet  rbv  Si  koI  rov  6 
8e.  Not  to  Speak  of  the  pointlessness  of  the  utterance  in  the 
bare  form:  "I  am  renowned  and  not  without  renown",  the 
assertion  does  not  balance  properl}^  with  Seti^w  Sc  p,v6o)v  roivS' 
dX-qOeiav  raxa  (9),  uor,  indeed,  with  the  rest  of  the  prologue, 
which  is  but  an  explanation  and  amplification  of  this  state- 
ment. It  is  the  pozue?'  of  the  goddess  that  is  to  be  mani- 
fested in  the  following  story  (cp.  21,  23,  33,  39,  44,  48f., 
56f.),  and  for  this  very  reason  ttoXXt]  is  made  prominent  by 
its  position,  is  put  first  because  it  is  the  ke3^note  to  the  whole 
play.  The  chord  which  sounds  the  note  of  ttoXXtj  is  struck 
at  every  step,  and  at  the  end,  when  Aphrodite  has  manifested 
her  terrible  power,  the  chorus  hastens  to  recognize  and  exalt 
it  in  an  ode,  the  beginning  of  which  bears  a  striking  resem- 
blance to  what  the  goddess  says  of  herself  in   the   first   two 

verses  :   o-v  rav  Oewv  OLKap-TTTOv  <f>piva  kol  (SpoTwv    aycts,    KvTrpt.      Hence 

the  appropriateness,  in  the  ver}"  beginning,  of  ttoXXyj,  Aphro- 
dite's power  is  so  great  that  it   /i//s  the    universe.     As    the 

nurse  Sa3'S   (447ff. ),   (}>OLTa  8'  ai/'    aWep\    Io-tl  8'  iv  OaXacraiio    |    KXvSuiVL 
KvTT/jts,  TTavTa  8'  CK  ravTri<i  €</)v   |   ^8    idTlv  r/  cnreLpovcra  Kal  8Sova^  ipov    I 
ov  7rdi/TCS  iaplv  oi   Kara   )(d6v''    tKyovot,       Cp.    Soph.     7/'.    497    /^<V"    ''"'■ 
(fdivo<;  d  KuTT/jis  iK<^iptTaL  vlkus  ucl, 

6 


Now  this  power  which  Aphrodite  proposes  to  display  is 
precisely  what  a  scholiast  says  ttoXXtj  means,  for  he  explains 
by  Svvarrj^  which  is,  ag-ain,  preciselj''  its  force  in  the  same  play 
and  used  of  the  same  deity  (443)  :  KvV/ot?  yap  ov  ^op-qros^  r/v 
TToWr]  pvfj.  Indeed,  there  seems  to  be  only  a  semi-personifica- 
tion of  the  g-oddess  in  the  poet's  mind,  as  he  writes  the  first 
word  of  the  tragedy.  The  idea  of  flow  is  so  often  associated 
with  KvV/ats  (almost  always  when  used  with  -n-oWrj.  Cp.  Hor. 
Od.  1.  19.  9.  m  7ne  tota  rue^is  Venus) ^  as  in  401  and  443,  that 
probabl}^  the  word  for  the  "influence"  of  the  deity  which 
Euripides  had  in  mind  had  not  lost  its  original  meaning  so 
completely  as  the  corresponding-  English  word.  The  image 
of  a  mighty  river  flowing"  deep  and  full  {ttoX-)  may  have  been 
at  the  basis  of  the  expression.      Compare    Bacchcp   281  orav 

TrXrjcrOwa-LV  ajxiriXov    porj<;    with  300  orav  yap    6    ^eos    eh    to    o-oJ|U,'    eXOr) 

TToXvs.  At  all  events,  the  frequency  of  the  phrase  KvTrpts  ttoAAtj 
does  not  seem  to  justify  the  complete  dissociation  of  the  two 
words  here,  particularly  when  the  combination  TroXXy — KUXrjpxii 
creates  a  sentence  that  is  universall)^  recog^nized  as  harsh. 
When  Euripides  sneers  at  Aeschylus  (Ar.  Ran.  1046)  for  not 
having-  Aphrodite  in  his  plays,  for  being-  a  homo  invcntistus^ 

the  latter  retorts  aAX'  ItcX  aoi  tol  koI  tois  o-oto-ii/  ttoXXt]   ttoXXov    VtKa- 

OrJTo,  Moreover,  the  phrase  cv  (^poToZa-i^  coming,  as  it  does, 
immediately  after  ttoAAtJ,  makes  the  meaning  I  have  assigned 
to  the  word  natural  and  easy,  ovpavov  t  co-w  is  an  after- 
thought (and  so  it  is  in  heaven).  Cp.  Eur.  H.  F.  849  o.\n]p  o8' 
ovK  a(Tr)fxo^  ovt  ctti  )(6ovl  |  ovt  iv  OeofLatv.  Differentl}'^  from  the 
man)^  persons  and  things  in  the  Jliad  which  bear  different 
names  eV  ^poToicn  koI  iv  ovpavio,  KuV/ots  is  KvTT/ois  in  both  places. 
Furthermore,  the  position  of  eV  ^poroto-t  with  reference  to 
dv(x)vvfxo<s  and  ttoAXtj  lends  color  to  the  theory  that  doth  adjectives 
must  be  taken  with  Kvtt/ois.     Cp.  also  Baecha  273  ovk  av  SwatfjLYjv 

fX€ye6o<;  i^enreLV  o(ro<i   \    KaO'  'EAAaS'  co-rai.      It  was  the  pOWer    of    the 

reified  Kypris  which  Phaedra  was  unable  to  cope  with  suc- 
cessfully (401):  ovK  ii-qvvTov  KV7rpL<s  KpaTTja-ai,     The  chorus  prays 

7 


that  Kypris  may  never  come  a.ppvdfio<:  {ui  undue  measure)^ 
which  is  practically  the  same  as  ttoXXtj.  "Love's  keen 
arrows"  are  viripT^pov^  that  is,  K-p^lrrov  than  all  others  (530ff.). 
The  walls  of  Thebes  and  the  Dircean  fount  could  tell  of  the 
power  of  Kypris  (557):  a  Kwpts  otovepTrei.  Hippolytus  himself 
finally  recognizes  her  might  (725)  :  KvV/Dtv,  rjirep  i^oXXvai  /xe. 
The  last  song-  the  chorus  sings  has  for  its  burden  the  omnipo- 
tence of  Aphrodite,  who  subdues  the  wild  beasts  of  the  forest, 
the  creatures  that  live  in  the  sea,  everything  that  breathes 
in  the  light  of  the  sun,  yea,  even  men   (127ff.):    o-u/xTravrcov   Se 

/SaatXrjLSa  rifxav,  KwTrpt,    ToivSe  fxova  Kparvvws.      Sophocles  in   no   leSS 

extravagant  terms  tells  of  her  overpowering  might  {Fr. 
890):    Ty]v  'A^poStXT^v  ov;^  opa<i  6(rr}  ^eos,   |   ^v  ovB^  av  cittois  ovSe  //.er/aryo-et- 

as  av  I    ocrrj  TricjiVKe  Ka.<f>'  ocrov  Ste/oT^erat ^pyV  ^^   Set^o)   to   cr6ivo<i 

Trjs  Oeov  (cp.  verse  9  of  the  Hippolylu-s),  and  again  in  his 
Ph(^d7'a  :  '<cit  rov^  (Kros)  diretpyetv  ovS"  6   Tray KpaTrj'i   aOevei    Zevs  dXX* 

v7r€LK€L,  while  the  nurse  in  Euripides'  play,  when  she  hears  the 
secret  of  Phcedra's  love,  exclaims  (355ff.):  Kwpts  ovk  dp'  ^v 
Oto'i,  aXA.'  et  TL  fjidlov  dXXo  ytyi/erat  Oeov,  Cp.  Baccjl,  777  Atovvo-os 
^o-o-cov  ov^tvo<i  6eu)v  €(f)v.      The    SCholiast    gives    also   p^^yio-Tr],  Oavpxi- 

crrrj  as  equivalents  of  TroXXrj  in  the  first  verse  of  the  Ilippolylus. 
But  the  objection  may  be  raised  that  ttoXXtj  cannot  mean 
fxeydXrj.  It  is  not  a  far  cry  from  -n-oXXr)  yrj  to  ttoXXt]  Kpavyrj  (Xen. 
Aji.  3.  4.  45),  nor  from  the  latter  to  -n-oXXr]  Oed.  The  two 
words  are  neighbors  and  encroach  on  each  other's  domain. 
Sometimes  the  meanings  seem  to  merge.  Sophocles 
says  /xcyas  xpoVo?  (Ai,  714)  as  well  as  ttoAvs  xp^vo<s.  Herodo- 
tus writes  ttXovtov  fxeyav  (2.  121)  and  XPW^"^^^  fxeydXwv  (5.  6). 
cp.  Aesch.  Pers.  163.  Naucl^  wishes  to  change  Adyos  /Acyas, 
the  manuscript  reading  of  Prometheus  732,  to  Adyos  ttoXvs. 
The  scholiast  remarks  on  this  passage :  ycrT^o-co-^at  8c  rots 
dvdpioTTOLS  ix^ydXr]  (f>-^p.r}  Tr}<;  ct^s  Tropetas.  Compare  Soph.  /!/.  173 
0)  fxeydXrj  <f>'i]fXY),  226  o  /w,eyas  p-vOos,  Allt.  855  (7roXv=  violcii(ly).      In 

l^erscT-  250  we  read  ttoAvs  -nXovrov  Ai/xr/i/,  where  some  would 
change  (unnecessarily)  to  conform  to    the   same    phriisc    in 

8 


Euripides  {Orestes  1077),  who  doubtless  borrowed  it  from 
Aeschylus.  The  repetition  with  oA^os  just  below  is  after  the 
poet's  manner  (748,  780,  Cp.  .4^.  641.).  In  Persae  751  we 
read  ttoXv?  -kXovtov  ttwo?,  in  SuppL  294  ^art?  ttoAXt;,  in  Eton.  646 
ttoAAt)  ix-qx^-vrj^  in  Eur.  Stij):pl.  474  ttoAvs  kAvSwv,  Plato,  Phaedr. 
253  D  a-KoXio^  TToAv?.  But  long"  before  Euripides  was  ttoAvs  used 
in  this  sense,  e.  g.  H,  157  ttoAAo?  yap  rts  tKaro.  In  B3^zantine 
Greek  ttoAvs  was  used  reg"ularly  for  /Atya?.  An  even  more 
interesting"  fact  is  that  this  use  survives  in  Greece  to-day,  as 
Bikelas,  Aovk^s  Aapa?,    y  avTos  ■^tov  6  dp)(iypafXfMiTev<;   tyjs   €7rtKpaT€ta?, 

6  /xcyas  KOL  TToAv?  ©eoScopo?  Ncypr;?.  From  Homer  to  the  present 
day  TToAv's  in  the  senses  of  /^eyas  has  lived  on  as  one  of  the  ele- 
ments of  the  undying"  lang'uag'e.  The  scholiast  says  that 
TToWrj  here  is  equivalent  to  Swan;,    and   Plato's   definition   of 

this  adjective  is  :    Awaro?  Si  y    ia-rlv  €Ka<TTO<s  apa,  o?  av  ttolyJ  rore  o  av 

(iovX-qrat^  orav  ^ovXrjTat,     The  idea  is    not    that    Aphrodite   e^x^ 

fxiya  TO  ovofJLa  iv  jSpoTOLcn,  but  eSvvaro  fxiya  iv  rfj  rroXu  kol  iv  rots  aAAots 

"EWya-Lv  (Plato,  Meno  94D).  It  is  the  Sophoclean  "how-much- 
ness" of  the  g-oddess  (/^r.  890)  that  Euripides  has  in  mind. 
Kypris  COllld^  and  she  ivoicld:  KvVpt?  rjOeK'  uxrre  yiyveaOat  TaSe 
(1327), — opa?  Trjv  OeC)v  l(rxvv  oar)     (Soph.    Ai.    118),     apX^^   '^^^  ^^^^ 

oTTcus  OeXcL  {Tr.  442).  That  ttoAvs  can  be  used  in  this  sense  is 
attested  by  a  passag-e  in   a  play  written  only    a   few    years 

after  the  Hlppolylus  :  ovto)  8'  ta-xve  re  koI  /u,eyas  ^v  Tore  kul  ttoAv's, 
war''  €Tt  KOL  vvv  I  d-TTo  ttJs  p(i>fir)<i  7-75  tot'  iKCLvrjs  kt€,  (Ar.  ^z^.  488f.). 
Cp.  £^g.  760  7rpo9   Tai)^'    OTTOJ?    €^€t    TToAvs    Kat    Aa/X7rp6s    cs    Tov    dvSpa, 

Thoug"h  the  adjective  is  probably  not  in  the  predicate  in  the 
passage  under  discussion  (see  below),  the  verses  just  quoted 
from  Aristophanes  show  that  it  can  be  so  employed  even  in 
the  singular  (meaning  SwaTo's,  mighty\  gewaltig)^  notwith- 
standing" the  expressed  opinion  of  some  of  our  best  scholars 
to  the  contrar3^  In  Hdt.  I.  120  we  find  the  superlative  in 
the  sing"ular  used  as  a  predicate  {ravrr)  ttAcTo-tos  ttJ  yvw/xr;  €tp,t'). 


But  a  philolog-ian  must  be  a  veritable  Cebes,  Kaprcpi^raros 
TT/oos  TO  aTTto-Tetv  ToTs  Ao'yois,  and  if  it  be  urged  that  the  deit)''s 
power  can  be  arg-ued  from  her  renown,  more  convincing  argu- 
ment remain, — Sel  yap  koI  t6v  Ke/3r]Ta  TTtidtLV, 

If  TToXkyj  had  come  in  the  second  verse  and  x.^X-qfiai  KvTrpis 
been  placed  in  the  first,  nobody  would  ever  have  thought  of 
taking  the  phrase  in  any  other  sense  than  ich  heisse,  je  m' 
nomme,  Kyfris,  Earle  sa)^s  (PAPA,  1901,  p.  XXIX)  that 
the  harsh  order  of  the  words  has  led  many  to  misunderstand 
them,  and  adds  "the  verses  are  of  course  to  be  understood  as 

equivalent  to  ttoXA.-^  pkv  kv  /SpoTolaLV  ovpavov  t'  €cro)  KiKXyjfxaL  Sea 
KvTrpts  (ttoXA^   K€KXr]ixaL  =  fxeya    e^oi    to   ovo/xa)    kovk   ctvwi^^os    <ct/xt>. 

But  K€KXr}fjiaL  with  ttoAAt;  and  KtKAiy/xat  with  KvTrpts  are  two  diifer- 
ent  verbs.  We  might  sa}^  ttoXv  /xol  kAcos  Io-tlv,  but  not  KvTrpts 
fxoL  kAcos  i(TTiv.  If,  however,  Oea  KvVpts  be  considered  apposi- 
tive  (instead  of  predicative)  a  Greek  would  expect  some  indi- 
cation of  the  fact,  such  as  the  insertion  of  cyw,  particularly 
as  both  the  meaning  and  the  position  of  KeKXrjfxai  would,  in  that 
case,  be  unusual,  to  say  nothing  of  the  adjectival  form  of 
TToXXrj,  Moreover,  Earle  does  violence  to  the  order  b)"  sepa- 
rating Kwpts  from  KeKX-qfxac  by  Oed^  and  he  makes  the  change 
with  the  express  purpose  of  bringing  K€KXr}fxaL  into  closer 
relation  with  TroXXy.  The  sequence  KUXy]}xat  Ki^Trpt?  is  the  inten- 
tional and  intended  order  of  Euripides. 

The  so-called  perfect  Ke/<Ar;/xat  is  not  used  of  the  transi- 
tory, but  of  the  fixed,  the  permanent,  whereas  the  tendency 
is  to  employ  the  present  to  designate  the  fleeting,  that 
which  is  for  the  time  being,  the  name  Oia-u^  not  <^vo-£t. 
"Alles  vergaengliche  ist  nur  ein  Gleichnis"  (the  present), 
whereas  "das  Ewig-weibliche"  is  expressed  by  the  perfect 
(KeKXrjfmi)^  the  kyprisity  of  Kupris,  the  cupidity  of  Cupid. 
The  character  of  the  person  inheres  in  the  name.  As  the 
chorus  in  the  Aj^amejunoii  sa3's  (681ff. )  :    Tts   ttot'   oiv6p.at,€.v   wS' 

€9    TO    TTfiv    €Tr}TvpM<;    .    .    .    Toiv    BopLya/xfipov    dfJL<}>LV£iKrj    0^    *EAei/av;     iirel 

10 


7rpe7r6vTw<;  |   cXeVavs,  cAeTroXts  kt€,    Cp.  Soph.  Al.  430  atat  ♦  tis  av  ttot' 
we^'  wS'  i7r(x)vvfxov  |  rovfxov  ^vvoicrav  ovofjui  toTs  e/xois  KaKoi?.* 

It  is  sig-nificant  that  the  perfect  active  KCKXrjKa  barely 
emerges  in  Greek  literature  (twice  in  Aristophanes,  Plato 
and  Demosthenes).  The  explanation  is  thait  K€K\r}fxaL  was  je 
m'  appelle,  whereas  j'  appelle  was  xaXw  and /'  ai  appe/le  ^xaXca-a^ 
just  as  iKT-qadfxrjv  is  both  aorist  and  perfect.  In  the  Refithlic 
580  K  we  have  an  example  of  Platonic  TroiKiXia  (KCKXi^Kafxev  for 
eKaXia-afxev) .  In  all  but  one  of  the  examples  in  Demosthenes 
the  verb  is  the  regular  perfect  oi  KaXeXv  (advocare).  The  per- 
fect passive  in  this  sense  is  extremely  rare  {KCKXrja-OaL  c?  Sat- 
Ttt).  In  all  of  these  passages  the  ordinarj^  meaning  of 
K€KXr}fmt  is  ignored  and  K€KXr}Ka  is  used  as  the  perfect  of  xaXw 
(instead  of  the  normal  cKaXecra),  in  apLo-rov,  inl  SetTTvov  KaXelv  be- 
ing common  phrases.  So  the  pluperfect  iKeKXi^fxrjv  (Lucian, 
Somniiim  9).  Cp.  Ar.  Av.  1602,  Ran.  395,  Athenaeus  10, 
457  B. 

But  KeKXrjfxaL  occurs  over  a  hundred  times,  and  regularly 
in  the  sense  of  ic/i  /leisse,  je  me  7ioinme^  io  ml  chiamo. 
K  donna  mi  chiamd  beata  e  bella. 
Dante,  Inferno^  2.53. 

The  tense  alone  is  fatal  to  the  Weil-Karle  theory.  Not 
the  perfect,  but  the  present  would,  under  normal  conditions, 


*In  the  heroic  ag-e  names  were  born  of  a  custom  :  hence  th-e  imper- 
fect wvo/xa^ev  in  the  passage  just  quoted.  Hector's  son  was  Skaman- 
drios  or  Astyanax.  Cp.  Aristotle,  Rhet.  1.  11.  3  €o-Tt  8'  y]  pkv  (/>uW  rov 
act,  TO  Se  c^os  tov  iroXXaKLq,  Plato,  CraL  383 A  ovd/xaros  opdorrjTa  elvai 
CKOLaTw  tCjv  oVtcov  (jivaeL  TrecfiVKvlav  Kal  ov  tovto  clvat  ovojxa  o  av  rtvcs 
^vvOefxevoL  KaXeiv  KaXoyat,  tyjs  avTU)v  <f>(ji)vrj<;  fxopiov  iTncfiOtyyofxevoL,  dXXa 
opOoTYjTOL  TLva  Twv  6vofxdT0)v  '7re(f>VK€uat  Koi  "EiXXrjCTL  KOi  (3ap(3dpoL<i  Tr}v  avrrjv 
diracnv.  In  other  words  ovopxx.  StSacTKaAtKov  T6  Icttlv  opyavov  (388B). 
To  the  Greek  there  was  such  a  thing  as  a  Kvpcov  kol  oUeLOv  ovofxa 
(Ar.  Rhet.  3.  6).  Cp.  Cicero,  Oi^.  3.  37.  149  quae  propria  sunt,  et  certa 
quasi  vocabulum  rerum,  paene  una  nata  cum  rebus  ipsis.  From  these 
are  distinguished  words  quae  transferuntur  et  quasi  alieno  in  loco  col- 
locantur :  aut  iis  quae  novamus  et  facimus  ipsi,  Pro  Caecina  18.51  res 
ut  omnes  suis  certis  ac  propriis  vocabulis  nominentur,  Plato,  Crat.  391 E 
St/Aov  ya.p  8r]  otl  ol  ye  Oeol  avra  KaXovanv  Trpo?  opOoTTjra  direp  cctti  cfyvaec 
ovo/JuaTa, 

11 


be  required,  as  for  example,  in  the  opening  verses  of  the 
Persae.  An  exact  parallel  to  ttoAX^  K€K\rjfxac  cannot  be  found. 
The  common  adjective  is  not  used  as  often  in  the  predicate 
with  KaXdaOai  as  are  other  forms,  and  when  it  is  employed, 
the  meaning-  is  different  from  that  which  Weil  and  Karle 
wish    to    assign   to   ttoXXt)  KeKXrjfmi.      Cp.    Plato,    C?'al.   194  D 

crocfiol  .  .  .  KaXovvTat^  Ar.  Rhet.  2.  24.  2  fJ'OVoq  yap  KaAetrat  KOivos 
'F,pixrj<;^  Phocylides,   (ri/w/xat)  a<f>p<ji)v  kikX-tjctkct at  ev  TroXtrai?.^ 

HOMER. 

The  first  example  of  KCKXrjadaL  appears  in  the  second  book 

of  the  Iliad  :  M^'  ^^^  TrjXefxdxoto  Trarrjp  KCKXrjfXivo^  ctrjv  (260).  The 
remainder  are  ^  61  or^  TrapaKOiTL<;    KiKX-qixat,    A    758   KoXoivrj  K^KX-qrat, 

S  365  (=B  61).  The  perfect  does  not  appear  in  the  Od5^ssey. 
The  present,  on  the  other  hand,  is  very  common,  and  is  reg- 
ularly used  of  the  temporar}^  or  local,  of  that  which  is  so 
named  at  certain  times,  in  certain  places,  by  certain  per- 
sons, or  under  certain  conditions  :  A  293  rj  ydp  kcv  SetXo's  re  Kat 

ovrtSavos  KaXeoL/xrjv,  403  ov  Bpiapecov  KaXeovat  Ocot^  c  306  kotvXtjv  8e  p,LV 
KaXiov(Ttv,  t,  402  '''OV'  p  'E/<Twp  KaXUcTKC  ^KafxdvSpLOV,  L  461  ws  P'T)  Trarpo- 
<f>6vo<;  KaXeoLp-rfV^  i  210  a.^£i  xe  cr<f)i  <f)iXr}  tc  Kat  aiSoLrj  KaXeotfxrjv,  279  ol 
Ttr^i/€S  KaXiovTM,  291  X*^^*^^^  klkXt^o-kovotl  OeoL,  V  ^4  ov  'Btdvdov  KaXeovat 
OeoL^  $  29  ov  T€  Kvv  'O/0t(ovos  iTTLKXrja-LV  KaAtovcriv,  506  Aarvdva^^  ov 
Tpoies  kiTLKX-qa-iv  KaXiovcrtv^  8  355  ^dpov  Si  k  KLKX-qaKOvartv^  c  275  oL/xa^av 
iiriKXrjcnv  KaXeovcriv^  v  104,  348  ai  vrjcdSe^  KaXiovrai^  rj  313,  ^  147  f^i-v 
TjBdov  KoXiu)^  o  403  vrj(r6<s  tis  'Zvpir]  KiKXrjaKeTaL^  433,  P  423?  t  79  d<f>V€LOt 
KoXiovTai^  I  366  OvTiv  8c  /AC  KLKXiqcrKOvcrLV^  K  305  P-itiXv  8e  /utv  KaXiov(n 
OeoL^  /A  61  nXayKras  .  .  .  Oeol  fxdKapes  KaXiovaLV^  a  6  ^pov  8e  veot 
kikXtjo-kov  airavTes  (not  his  real  name,  for  'ApvaTos  8'  ofo/a'  ta-KC  TO 
yap  dero  TroTvia  p-YjT-qp  \   Ik  ycvcr^s). 


*Of  the  numerous  Greek  expressions  for  nomcn  est,  jwminari,  diet, 
KtKXrjaBat  is  one  of  the  commonest :  Hesiod,  Thcog.  144  ovo\x  i-movvixov^ 
Ar.  /*ajc  520  rrpoaiLiru)  a  cttos,  A  v.  814  ovofia  KaAaJ/xcj/^  923  tovi/o/x'  ^Be/jLrjv, 
Plato,  CraL  156  B  €;(ovo-iv  oi/o/xaTtt,  Herodotus  2.52  ovopux  KCKTcaTut,  4.45 
ovo jjja  iXafie, 

12 


The  first  appearance  of  KaXeiv  in  Greek  literature  is  in  A 
54  KaXco-aro  Xaov.  So  a  dozen  times  in  Homer  in  the  middle, 
the  compound  TrpoKaXelv  not  so  often  and  o-vyKaXetv  only  two  or 
three  times.  The  active  of  xaXeiv  in  the  sense  of  advocai'e  is 
found  fifty  times,  the  middle  very  seldom. 

HESIOD. 

The  form  KCKXria-BaL  appears  in  Hesiod  but  once  (  Theog. 
410  <^iXy]v  KeKXrjaOai  (Lkoltlv)  the  present  passive  three  times   ( 0. 

D.  141  TOt  /xci/  vTTOxOovLOL  fxaKapcs  dvrjTol  KaXe'ovrat),  the  active  twice, 

klkXtjo-kclv  twice,  and  KaXieaKev  once  (T/ieog.  207).     Cp.    O.  D. 

80  ovofji-qve  Se  TrjvSe  yvvaiKa  |   lilavB<x)pr)V. 

THE  LYRIC  POETS. 

The  first  example  of  KeKXrjaOaL  is  in  Archilochus,  and  this 
in  the  future  :  iTrUovpos  KCKXyaofxaL  (24)."^  The  second  instance 
is  in  an  epig-ram  of  Acarnania  (roSe  aafxa  KeKXrja-eTat) ,  Two 
similar  examples  are  quoted  as  from  Theognis.  The  only 
examples  of  the  perfect  are  in  Hybrias    (Tovtw   Seo-Troras   /xvotia? 

KeKA.>;/Aat)  and  Pindar,    0.7.76     (KeKXrjvraL    Se    a(fiLV    eSpai).        The 

active  is  found  inErinnaS.  6,  Philoxenus  1.66,  Simonides  12. 
31,  Pindar  jP.  9.71,  Thren.  4.  There  are  three  examples  of 
the  passive  present  in  Simonides  and  one  in  the  Anacreonteia. 
In  the  sense  of  advocai'e  Alcaeus  and  Sappho  each  have  one, 
Pindar  four. 

THE  DRAMATIC  POETS. 

In  Aeschylus  KeKXrjfmi  occurs  eight  times  :   SepL  929  tckvo- 

yovoL  KiKX-qvTai^  Euin.  417  'Apat  KCKXrjfxeOa^  J^ers.  242  SovXoc  KeKXrjvraL^ 
Cho.  321  ya-p^TVi    K€KXr]VTaL^    Ag.    161    ^i    roK    avrw    cf)tXov   K€KXr)fX€vw^ 

Cho.  1037  <^ey7os  K€KXr)fievov^  Eu7n.  658  kckAt^/xcVov  tUvov.  The 
future  appears  three   times,  twice  in  the    Prometheus  :    734 

Boo-TTOpos    3'    i7r(i)wixo<s   K€KXyjcr€TaL^     840   TrwTtos  /xv;j(09    .    .    .    KCKA-r/o-erat, 

once    in   the    Septem.    (698)    KaK6<s  ov  KeKXrjaeL,      KaXetv   occurs 


*The  future  perfect,  being  a  perfect  thrown  into  the  future,  becomes 
a  future  when  the  perfect  is  used  as  a  present. 

13 


twenty-two  times  in  the  sense  of  advocare,  six  times  in  the 
sense  of  nominare. 

Sophocles  has  five  examples  of  KeKXrjarOat ;    El.  366  Trarpos 

TrdvTiov  dpiarov  TralBa  KeKXrja-Oat^  1087  cro^a.  t  apiara  re  Trais  KeKXrjaOai,^ 
Tr.  736  d-Xkov  KeKXrjo-daL  fx-qripa^  Phil.  85    KUX-qa-o^     119    ao<f>6^    r     dv 

avTos  KdyaOo^  kckXtj'  dpn.     The  f nture  of  K€KXr)fmL  occurs   twice  : 

O.    T.  522  i<-o-x^o<i  Se  Trpos  crov  kol  (fttXoiv  KCKXr^cro/xat,  A/.    1338    ovk    ifxov 

KeKXrja-eTai.  In  Electra  971  appears  the  future  middle  KaAet,  the 
only  instance  of  its  use  in  a  passive  sense.  Aristophanes 
employs  the  form,  but  regularly  as  a  middle,  contrary  to  the 
rule  with  other  verbs.  The  present  and  future  middle  and 
passive  of  koXCiv  are  identical  in  Attic;  hence  the  future  of 
KCKXTjcrOai  had  to  do  service  for  the  future  also  of  KaXtLo-dai, 
The  regular  future  passive  of  Ko-Xd  is  KeKXrja-ofjxiL  (rarely  KXrjO-ijao- 
/^O  ;  consequentl}^  the  so-called  future  perfect  is  often  found 
where  the  principles  I  have  enounced  for  the  present  and  per- 
fect would  not  seem  to  warrant  the  use  of  this  form.  It  is 
merel}^  a  make-shift,  K^KXya-ofxai  for  KaAov/xat  (which  would  be 
ambiguous).  On  the  other  hand,  where  the  present  is  used 
the  meaning  is  regularly  "called  for  the  nonce":  E/.  1194 
fj-T^rrfp  KaAetrai,  fxrjTpl  8'  ovSkv  l^icrdi  (a  mother  in  name   merel}^? 

O.     T.    S   O   7rd(TL   KX€iv6<S   OlStTTOVS     KttXoV/XCVOS,        Q,      C.     57     X^^^^'*    '^ttXciTttt 

T^(r8e  xP-Xkottov's  b^6<i^  107  /-icytcrTTys  IlaXXaSos  KaXov/xevat  Traaaiv  ^Adrjvai 
TifiKordTTf]  TToAis,  1303   d(TOLTrf.p    'ATTia?  I  TrpuiTOi    KaXovvrai    koX   TeTLfxrjVTai 

Sopt,  where  the  present  denotes  the  local,  transient  name, 
and  the  perfect  expresses  fixed  repute.  Cp.  T/ii/c.  2.45  t«t£- 
fxrjvTai  (^fermanent  honor^^  Phil.  94  TrpoSoryj^  KaXeiaOat.  Of  course 
the  permanent  may  be  regarded  as  for  the  time  being,  the 
transitory  as  the  abiding.  So  in  O.  C.  69  we  find  ®r]<r£vs  KaXel- 
Tai  Tov  TTplv  Aiyc'ws  tokos,  which  would  seem  to  be  as  much  the 
hero's  fixed  name  as  Kypris  is  Aphrodite's,  but  Oedipus  is 
told  by  the  stranger  what  the  people  call  the  king  so  that  he 
too  may  name  him  correctly;  not  the  fcrson,  but  the  name  is 
emphasized,  whereas  in  the   IJippolytus  it  is   the    person  on 


14 


which  the  stress  is  laid.  Cp.  Time.  5.  9.  9  AaKeSat/xovtW  |v/x- 
/xaxots  K^KXrjcrOai  (allies  in  reality,  not  in  name  only).  The 
present  optative  occurs  once  :  ywaiKwv  rjo-aove^  KaXotixeO'  av  (Aiit. 
680).  The  middle,  which  is  rare  in  Attic,  except  as  a  law 
term  (to  cite  before  court)  is  found  in  O.  C.  1385  (apas  as  o-ot 

KaAov/xat), 

In  Euripides  KCKXrjaOai  is  very  common  (22  examples)  and 
always  means  "to  be  cleped".  Now  just  as  KCKXr]fx€vo<i  can 
never  mean  kXclvos,  or  kAc'o?  cx^'^^  so  K€KXr}fiaL  cannot  signif}-  ttoXv 
fxoi  kAcos  ccrrtV,  either  with  -n-oXXrj  or  without   it;   (far  different 

is  eyoo  S'  iv  TracTL  OeotaLV  /xyrt  re  KAeo/xat  kol  KepSeaiv  v  298)  and  even  if 

we  wrench  KUX-q^xai  from  Kwpts  (which  to  the  Greek,  and  par- 
ticularly to  Kuripides,  would  have  been  an  impossibilitjO 
iroXXyj  K€KXr)ixaL  would  uaturall}^  mean  "I  am  ttoXXt]  )xleped", 
something  very  different  from  -rroXv,  TroAAa,  7roAAa/<ts  3^cleped".'^' 
The  examples  in  Euripides  are  :  //ec.  480  KeKXrjfxaL  SovAa, 
552  ^ovXrj  KCKX^adai^  Fr.  22  ^^<\>h   KUX-qixaL^    HcL    1463,   Ion.    311 

Ao^tbv  K€KXrjfxcBa^  H.  F.  501,  EL  366  KiKXrjvraL  ttoVi?  e/txo's,  //cc.    625 

Ti/XtOS    K€KXr]fl€VOS,    Alldl'Om.    75   O    K€KXrjtX€VO^   TTttTT/p,    RJlCS .    298,   //.    /^ 

31,  291,  6^^;^;!)/.  626,  /.  T.  570,    .4/c.  637  KtKX-qiiiv-q  fxyTrjp,    Ion  9 

TToAts    .    .    .    IlaAAaSos  KCKXrjfXivrj^  Fv.  2  ^^*<-Xr\(jBo.i  ^ovXerac  iraryp^  8  Sct- 

Aov  K€KXrj(rOaL  {^branded  a  coward),  150  KeKXrjTUL  Bavtiv  (  "the  thing 
mortals  call  death",  BjTon,  Manfred  2.2),  8  ^/aos  ya/x^/oos 
KiKXrjaaL^  Fr.  inccrt.  KCKXrjadaL  KaKov.  The  future  passive  kXtjOtjo-c- 
Tttt  occurs  once  (7r6>.  13),  KCKATJo-o^at  ten  times:  7/(?^.  1271,  A/c. 

331,  €/x^  yw>;  /jtov>;  KeKXrjcrr)^  /.  yl.  954,  //<?/.  1035  ovirore  K€KXrjcrr) 
8vo-o-ej8r;s,  1683  Oeos  KeKXyjaY},  Ion.  580,  594,  El.  1275  CTTwi/v/xos  0-ov 
TToAis  KeKAr/crerat,  /<;-.   12,   Z'?'.   inCCrt.  cre/xvos  naAat/xwi/  vavrt'Aot?    kckXt}- 

<X€TaL, 

In  Aristophanes  there  are  onlj-  three  examples  of  KiKXrjfxai^ 
and  these  are  all  in  the  future  :  Vesp.  151  oo-ns  -rrarpo^s  vvv  Ka-rrvi- 


*Cp.  Thucydides  3.82.7  Se^tot  KUXrjvTai  {have  a  reputation  for  cLever- 
ness).  That  the  adjective  mig-ht  be  used  for  the  adverb  is,  of  course, 
not  denied. 

15 


ov  KCKXi^a-ofiai,  Av.  184  KeKXiyo-erat  ttoXis  (Cp.  182,  where  the  pre- 
sent is  used,  KaActrac  vvv  7r6\o<i\    761  arrayas  ovros  Trap   i^jixtv  ttoikiA-O? 

K€KXrj(T€TaL,     Of  the  present   there  are  twent3^-five  examples : 

Vesp.  1137  ot  fxkv    KaXova     Ilepo-tS',    ot    Se    KavvaKrjV,  Av,  485    KaXetrat 

Uepo-tKos  opvis  720  TTTapfjiov  T  opviOa  KaXetre.  There  are  fort}— five 
examples  of  KaXeLv=adroca7'e,  and  sixteen  compounds. 

THE  HISTORIANS. 

There  is  no  better  author  for  the  study  of  the  behavior 
of  KaXeiv  than  Herodotus.  The  participle  meaning-  '  'called", 
"so-called",  is  regularly  present:  1.1  rrjs  'Epvdprj^  KaXeofxevr)^ 
6aXda(Tr}<i ^  1.2  tov  Etj^civov  KaXeofxevov,  1.7*,  1.56;  1.57  Toto-t  vvv  ©eacra- 
XtrJTLV  KaXeofX€vriv,  1.82;  144,  149  Ktj/x>;,  17  ^pLKMvU  KaXeofxevrj^  166,  202 
rj  'ArXavrls  KaXeofxivr]^  204;  2.8  ^9  t>)s  'Epvdpyv  KaXeofxevrjv  OdXaacrav, 
7.231  o  Tpe(Ta<;  'A/oto-ToSry/x-os  KaAeo/xevos,  8.35  tov  KaAeo/xevov  tovtov  Mtii/, 
8.44  T>)v  vvi/  KaXeofx^rjv  'EXXdSa,  9.57,  85,  109.  So  with  the  present 
indicative:  1.93,  105,  110,  131  KaXeovcn  Se  'AcravpLot  Trjv  'A<t)pohLT7)v 
MvXcTTa,  ^ApafSiOt  8c  'AAtXar,  139  TO  Acopiees  /x€i/  (rai/  KaXeoucrt,  "Icoves  8c 
orty/i«x,  131,  158,  164,  167  ^^t?  vw  'YcAr;  KaAetrat. 

The  perfect  form  KeKXrjfxai  occurs  ten  times:    1.32   oA^to? 

KeKXrja-BaL,  143  "loves  KCKXyjaOai^  2.18  Kavw^iKov  arofxa  KCKAryrac,  45 
KCKAiJo-^at  rr/v  ^Aatrjv  .  .  .  KCKA^cr^at  'Ao-taSa^  85  BooTTropos  KCKXyrat^  58 
<l>otvtKr7ta    KCKXyjadaL^    68    KeKXrjaBai    AiyiaAca?,  105  2ap8ovtKov    KCKAy/rat, 

7.59  Aopio-Kos  KeKXrjTai,  In  every  instance,  except  one,  a  proper 
name  is  the  predicate  (as  Kypris  in  Hifi>olyUts  2),  and  this 
one  does  not  mean  "to  be  happil}^  called",  but  "to  be  called 
happy".  cTTtKaActv  is  used  mostly  in  the  sense  of  invocarc,  but 
occasionally  in  the  sense  of  cTroi/o/xa^civ. 

In  Thucydides  KCKAr/p-at  occurs  four  times:    2.37  SrffxoKpaTLa 

KCKAr/Tttt,  3.82.7  8e^ioi  KeKXrjVTat^  4  (,4. 3  ovofia  tv  KCKXrjfxevov^    SikcAkotu? 

(the  only  example  of  the  perfect  participle  in  Thucydides, 
whereas  KaAou/xcvos  occurs  44  times).  In  the  sense  of  advocarc 
KttActi/  appears  twice;  the  present  indicative  active  occurs 
twice  ;  the  passive  eleven  times ;  the  aorist  passive  five  times. 

16 


In  Xenophon  K€K\r)fxat  is  found  four  times,  all  in  the  Oeco- 
uomiciis  and  all  in  the  same  phrase  (KaAos  Kaya66<s  K€K\7]^mc). 
There  are  twenty-one -examples  of  the  participle,  all  present. 
There  is  a  score  of  present  passives,  a  dozen  actives,  and 
about  fifty  examples  of  KaAetv  =  advocare.  i-n-LKaXeiv  is  used  for 
i-TTovofxa^eLv  {Hicro  1.31;  Hell,  3.1.18).  The  aorist  passive  is 
rare. 

PLATO. 

Plato  furnishes  almost  as  good  material  as  Herodotus  for 
the  study  of  the  use  of  KoKtiv  and  KeKXrjaOaL,  The  perfect  is 
found  twent)^-one  times,  mostl}^  with  predicate  substantives: 
Phaedriis  258  K  StKaiwv  di/SpaTroSwSet?  K€K\r)VTaL^  PJiacdo  79  D  ^9^' 
vy](TL%  K€KXr}TaL^  I^eg\^\  744  D  o  ^Laa-raa-LV  r}  crraa-iv  opOorepov  av  etrj  kc- 
KXrjadai^  TimcieilS  43  C  at  8i^  koX  €7ruTa  ravra  iKXrjOr](rav  re  kol  vvv  trt 
ai(TO-^acL<;  K€KXr}VTaL^  66  C  KCKXrjTai  yXvKv^  LcicllCS  178  A  o-p^rr^  KiKXrj- 
rai,  CratylllS  410  B  a^  KCKXrjTai^  417  A  K€KXrjaOaL^  419  D  T€piJ/L<;  kL 
KXrjTat^  420  B  €/ooro?    TO    ye    iraXaLov  eKaXdro    .    .    .    vvv  8'  c/aws  /<€KAr;rat, 

426    C    KLVYjatS   K€KXr)TaL^     Rep.    371    K     K€KX7)VTai     fJLLaOoJTOL^      552      D     OdOl 

KeKXrjvTaL  KaKovpyoL^  Sopkistes  219  K  rpioBovTia  rt?  K€KXr]TaL^  263  K 
K€KXr)Tai   Aoyos,    TiiuaCtlS  42  A  K^.KX-^aoiro  dvqp. 

The  perfect  participle  occurs  six  times  :      Rep.    499    B 

dxpy](rTOL<i  81  vvv  KCKX-qp.ivoL'i,    Crat .   156  B  ^o/?ot  KeKXr)pi€vaL  408  B,    409 

C,  419  C.  Two  are  found  also  in  the  scholia  to  the  Phacdrus 
(238  B  and  248  C).  The  active,  mostly  present  ijiominare) 
occurs  nearly  tw^o  hundred  times,  the  passive  about  one- 
fourth  as  often. 

Some  writers  prefer  one  synonym,  others  another  :  Trpoo-- 
ayopevai/,  oi/o/xa^etv,  KaAeiv.  Plato  has  all,  and,  except  in  a  few 
dialogues  {Sop/i/s/cs,  Politicus)^  where  there  is  a  run  on  the 
Trpoo-ayopevetv  bank,  thc}^  are  not  unevenl3^  distributed.  6vo//a. 
4"v  occurs  less  than  a  hundred  times,  cTroi/o^o^etv  less  than  fifty. 
Neither  the  simple  nor  the  compound  forms  of  ovo\x6X,^iv  and 
KaAetv  occur  frequenth^  in  the  perfect  active.  The  passive,  on 
the  other  hand,  is  not  rare.  liriKaXdaBai  is  sometimes  used  for 
i7rovofxdC€a6aL,     As  we  should  expect  from  his  fondness  for  ^otKt- 

17 


A.ta,  Plato  has  a  great  variety  of  ways  of  expressing  to  name; 
Trpoo-ayopeveiv  (a  hundred  times),  ^iruiwfxiav  tx^tv,  TO  ovofm  kinKda-Oai 
ovofMi    kKXrjBrj^     iTTCKXrjv    exovra^    liriKXrjV    /caXov/Acros,     iTrUXrjv    XcxOrjvai^ 

iTTLKaXovfxevoq,  The  participle  ("so-called")  occurs  sixteen 
times,  and  always  in  the  present. 

THE  ORATORS. 

The  perfect  of  KaXeXv  does  not  appear  in  the  orators,  ex- 
cept in  the  participle  passive  (Lysias  -F/'.  66  em  to  a-vvSeL-n-vov 
k€kX7}ix€vov)  and  in  the  indicative  a.ctive=advocavtt  (Demosthe- 
nes 27.25  and  39.10  -rroTcpov  o-e  KUX-qK^v).  The  present  parti- 
ciple passive  is  frequent.  The  verb  is  used  by  the  orators 
nearly  three  hundred  times. 

An  examination  of  these  examples  shows  that  TroXXr)  kL 
KXrjimi  cannot  mean  -rroXv  /xot  kXIos  co-tiv.  An  examination  of  the 
trimeters  demonstrates,  I  think,  the  same  fact  in  another 
wa}'.  A  pause  made  in  the  wrong  place  in  a  sentence  ma}' 
completely  change  the  meaning.  Aristotle  says  {^Rhet.  3.9. 
4):  Set  Se  Tr]v  TTcptoSov  kox  ttJ  StavoLo.  TeTeXeiwcrOaL^  koI  fxr}  BtaKOTTTiaOaL 
axTirep  to.  ^So^okAcovs  ia/Jifieia^    '  KaXvSwv  /xev    ^8e    yaux  ncA.07r£ta?  ^^^^^s.' 

If  a  pause  is  made  at  x^^^^^?  the  thought  is  conveyed  that 
Cal3^don  is  in  the  Peloponnesus;  but  if  the  next  verse  be  read 
as  a  continuation  of  the  first,  the  sense  is  clear  (cvdvTtTrop^/xois 
TTcSr  exova  evSatfxova) ,  Kuripides  is  exonerated  and  Aristotle  is 
convicted  of  two  misstatements  (the  verses  are  the  opening 
lines  of  the  Mcleager  of  Euripides).  But  Aristotle  is  not  the 
only  Greak  reader  that  has  been  caught  in  the  fallacy  of 
division.  Editions  of  the  Hippolytus  alone  for  the  last  cen- 
tury will  furnish  abundant  examples  {e.  g.  114f.,  407  etc.).* 
Euripides  did  not  intend  that  the   verses  we   are  discussing 

should  be  read  ttoXXyj  pxv  iv  f^poTolcn  kovk  avwvv/xo5  Otd — K€KXY)iJLaL 
'    KvTrpis  —  ovpavov  t    ccro),     nor     Oea  KeKXyj/xat      KvTrpi^- — ovpavov    t   €(T0)^ 

*So  the  English  "deviT'  who  made  the  poet  say  "where  the  earth 
sods  my  beloved  hide",  by  tie^-lecting-  to  insert  a  hyphen  between  the 
first  two  substantives. 

18 


for  this  would  have  been  too  limping"  even  for  Hipponax. 
Euripides  endeavored  to  keep  his  trimeters  as  intact  as  pos- 
sible (each  verse  separate  and  distinct),  and  by  so  doing  he 
succeeded  in  attaining-  wonderful  rapidity  and  ease,  that 
well-known  smoothness  of  speech  and  uniform  melody  of 
verse.  He  not  only  avoided  a  pause  before  the  last  iambus 
(far  more  than  his  editors),  but  he  also  objected  to  the  con- 
tinuance of  the  sentence  to  the  middle  of  the  first  metron  in 
the  next  verse,  which  was  not  offensive  to  Aeschylus  and 
Sophocles  (particularly  the  latter,  who  effaced  the  dividing 
line  between  the  individual  verses,  carrying  his  principle 
even  to  the  point  of  elision).  But  when  one  gets  an  idea 
that  a  certain  passage  has  a  certain  meaning,  it  is  very  dif- 
ficult to  get  rid  of  that  idea.  Ludwig  Schmidt,  in  his  edi- 
tion of  the  Prometheus,  says  on  verse  119:  "Der  modus  von 
opare  ist  nach  V.  141  u.  304  zu  beurtheilen".  The  same  con- 
sideration has  doubtless  influenced  the  long  line  of  editors 
who  take  the   same  view.'^      Schoemann    translates   ri  xaXG. 


*  Humphrey's  note  on  Sophocles'  Antigone  806  (that  opare  is  imper.) 
fell  under  my  eye  just  too  late  to  notice  in  my  paper  in  the  last  number 
of  the  Transactions  of  the  American  Philological  Association.  The 
very  fact  that  a  note  is  necessary  shows  the  doubt  that  lurks  in  the 
reader's  mind  whether  it  is  imperative  (which  it  may  be  under  the  cir- 
cumstances) or  the  indicative  (=6pav  TrdpeaTLv  in  1293).  At  all  events, 
opare  as  imperative  of  actual  perception  is  practically  never  used;  the 
one  or  two  supposed  examples  are  by  no  means  certain.  If  the  verb  in 
O.  T.  15  were  plural,  doubtless  many  grammarians  would  consider  it 
imperative.  I  take  this  opportunity  to  explain  another  statement  in 
the  same  paper,  that  a-KOTrecTe  is  rare,  (TKixpai  unusual,  o-kottci  and  o-K€i//a- 
o'C'e  being  the  regular  forms.  This  assertion  is  made  in  the  paragrai)h 
on  the  orators,  I  do  not,  of  course,  include  that  pink  of  perfection, 
Isocrates,  who  is  so  faultily  faultless  and  icily  regular  that  he  uses 
(TK&paL  to  correspond  with  orKiij/aaOe,  In  Aeschines  a-Kiil/aaOc  occurs  ten 
times,  CTKOTreLTe  not  at  all.  Lysias  employs  o-kottu  once,  (TKixl/aaOe  four- 
teen times,  (TKCipaL  and  o-KOTreire  never.  In  Demosthenes  a-K^ij/aaOe  occurs 
fifty-nine  times,  (tkoitcltc  only  eight,  (TKOTret  six  and  crK€i/^at  not  at  all. 

The  indicative  in  lyuke  2.29  vvv  aTroAvets  tov  SovXov  (tov  is  generally 
quoted  as  an  imperative,  due,  perhaps,  to  Genesis  41.30:  "And  Israel 
said  unto  Joseph,  now  let  me  die,  since  I  have  seen  thy  face".  So  the 
L<atin  version  :     dimitte  servum  ttium,  instead  of  dimittis. 

19 


fiavLUiv;  (Aesch.  Prom.  1057)  b}^  "wie  zaelimt  er  die  Wutli?". 
Another  scholar  renders  "wie  vergaess'  er  die  Wuth?". 
Mahaff}^  and  Bur}^  and  Weil  explain  o-i>i/  ^coto-t  <\>oit5.  {Hip- 
■polytus  167)  by  "she  walks  in  the  number  of  the  gods". 
Pale5^  translates  "thanks  to  the  gods".  Van  Herwerden  sur- 
mises that  Euripides  wrote  cv  ^eoto-t,  instead  of  <tvv  ^eoto-t, 
showing:  that  his  conception  of  the  meaning-  is  equally  erro- 
neous. Some  believe  that  Hippolytus  246  refers  to  change 
of  color  (cp.  Ion  1369  f.).  Scores  of  examples  like  these 
might  be  cited  to  show  how  well  the  language  of  the  tragic 
poets  is  understood  by  eminent  scholars. 

Sanskrit  is  an  analyzable  language  in  word  structure, 
Greek  in  sentence  structure.  But  the  Greek  sentence  some- 
times betrays  extra-linguistic  phenomena.  The  Hellenic 
liveliness  overleaps  rules  that  were  framed  for  normal  condi- 
tions. "Natural  man  manipulates  language  sensitively^  and 
fruitfulh'  without  the  interference  that  comes  from  critical 
understanding  of  the  processes  of  word-making.""  A  little 
tot  says  "me  no  get  for  you"  and  "me  how  know  do  that". 
There  is  no  analysis  ;  the  sounds  are  all  there  ;  the  trans- 
position (for-get)  mattered  little  to  the  unanalytic  mind. 
Compare  Plato,  Protag.  324  A  "^90%  rovri^  t6v  vovv  ex^^-  The 
Greeks,  like  children,  manipulated  language  naturally.  The}" 
could  say  olaO  o  Bpaa-ov  with  the  same  unhesitancy  as  the 
American  girl  would  sa}"  "I  tell  3^ou,  girls,  what  lets  do". 
Such  a  livel}"  language  can  produce  not  only  the  familiar 
TO.  rffxirep  avrtov^  but  also  i7/xcT£pa  K€pBr]  rcov  aocfjwv  (Ar.  Ahll).  1202^. 
In  the  hands  of  a  self-willed  writer,  like  Aesch^dus,  it  pays 
little  heed  to  regimen.  The  manipulator  seizes  a  prjpxx  afia^i- 
(uov  and  throws  it  into  its  place  at  the  head  of  the  sentence  re- 
gardless of  case.  Analysis  will  not  show  how  Pindar  built 
his  odes  ;  analysis  will  not  always  show  how^  Euripides  coi;- 


*  Bloom  field,   The  Syvibolic  (,'ods.  Studies  in  Honor  of  13.  L.   Gilder- 
sleeve,  p.  143. 

20 


structed  his  trimeters.  The  conception  g-ained  from  a  felici- 
tous translation  into  one's  "g-eliebtes  Deutsch",  or  "g"eliebtes 
Knglisch"  is  not  necessarily  the  Greek  conception.  Ahapp)- 
paraphrase  in  Greek  itself  is  not  always  an  infallible  g-uide. 
Neither  Weil's  nor  Karle's  Greek  equivalent  of  Hippolyhis 
1-2  connote  the  Greek  idea.  Much  nearer  the  truth  is  Monk, 
who  renders  "I  am  powerful"  (K£KX7)fxaL=dfxt ) .  But  he  does 
not  gfive  the  whole  truth,  o  iracn  kAcivos  OlSiTrovs  KaXovfxcvo^  does 
not  mean  exactl}^  "I,  Oedipus  renowned  of  all"  (Jebb),  nor 
"I,  who  am  of  all  called  renowned  Oedipus".  In  both  the 
Jifippolylus  and  the  Oedipus  the  words  are  knit  together  with 
a  closeness  of  which  the  English  has  no  conception.  In  the 
passage  under  discussion  KUX-qixat  dovetails  into  ttoAX-^  .  .  .  Kv- 
Trpts.  Call  it  a  temporary  compound,  if  you  will,  or  conceive 
the  adjectives  ttoXXt]  .  .  .  kovk  dvwvv/xo?  as  trailing:  after  K^KXrjfxaL 
KvV/ots,  the  effect  is  practically  the  same.  It  isonh^  an  exten- 
sion of  a  phenomenon  familiar  in  smaller  complexes,  like 
[XLKpov  I'xojv  xtTtJjva,  where  ^x^^  is  mortised  into  the  adjective- 
substantive  phrase.  We  undertranslate  or  overtranslate. 
Greek  is  too  flexible  to  be  bound  by  rules,  mirrors  too  well 
the  living  voice  to  assume  cast-iron  Latin  rigidity.  As  Weil 
himself  says  {Journal dcs  Savants^  May  1901)  :  "la  langue 
grecque,  produit  naturel  d'  un  peuple  admirablement  doue,  n' 
a  pas  connu  pendant  des  siecles  le  joug  etroit  des  grammair- 
iens  de  profession  ;  instrument  d'  une  merveilleuse  souplesse, 
elle  s'  accommoda  au  caractere  des  genres  litteraires,  au 
genie  des  poetes,  des  orateurs,  des  ecrivains  qui  savaient  en 
jouer,  capable  de  rendre  les  plus  fines  nuances  du  sentiment 
et  de  la  pensee.  Mobile  et  variee  a  1'  infini,  tout  en  restant 
la  meme,  cette  langue  fait,  par  son  apparente  indiscipline,  le 
desespoir  des  grammairiens  rigides  et  les  delices  des  esprits 
qui  savent  la  gouter".  As  Professor  Gildersleeve  sa3^s  : 
''The  rules  will  not  work;  the  facts  will  not  fit  into  the 
scheme  ;  analysis  will  not  yield  sjmthesis".  Many  scholars 
think  that  ri%  is  in  the  predicate  in  Hippolytus  369.    It  is  a  part 

21 


of  the  complex  subject.  The  few  examples  of  rU  in  the  predi- 
cate without  wv  that  do  occur  (as  Sophocles,  O.  T.  151)  are 
entirely  different  in  nature.  To  the  Greek  the  juxtaposition 
of  Ti5  with  o-e  is  sufficient  to  justify  his  conceiving-  the  words 
as  subject  and  object  respectively.  The  love  of  balance,  of 
contrast,  must  never  be  left  out  of  account  in  the  considera- 
tion of  a  Greek  lang-uage-problem.  Onl}^  a  casual  plance  at 
the  tragic  poets  is  necessary  to  convince  one  that  the  Greeks 
refused  to  separate  subject  and  object,  if  one  of  the  promessi 
5?:>6>5?' happened  to  be  Tts  (oo-rt?)  and  the  other  /^e,  o-e,  avrov. 
There  can  be  a  ohe  rk  xp^vos  as  well  as  a  oSe  /xuk/dos  xp^^^^-  The 
words  coalesce  temporarily,  as  KaXoKaya66<;  has  permanently. 
Compare  the  Aristophanic  ro  ri^  to  ttoiov^  the  Sophoclean  and 
Aeschylean  tl  8'  ovrtva.  As  in  hypallag-e,  the  words  are  put 
tog-ether  compactl)^  so  as  to  form  a  unit.  The  individual 
word  is  subordinated  to  the  g-roup.  The  power  of  the  stream 
of  thoug-ht  unifies  and  welds  the  individual  elements  into 
one  harmonious  whole.  A  lang-uage  that  can  form  such 
phrases  as  ^  Travra  av  ToXfxwv  (Ar.  Ntlh.  375),  ^  KaWiirvpyov  cro<f>Lav 
KXuvoTOLTrfV  liracTKOiv  (1024)  ^  KOLVov  0)<f>iXrjfJLa  6vY)T0i(nv  <\>avu<;  (Aesch. 
Prom.  613),  TrX-qSov^  /xkv  av  (Td<f>"L(TO'  cKari  {Pers.  337),  Tov  TrapaKpov- 
(ra<rdaL  kol  <f>evaKLaaL  Xeyerat  Trap'  -^fioyv  eivcKa  (Dem.  20.88)  will  ex- 
perience no  difficulty  in  making-   a    rhetorical   complex    like 

TToXXr)   KOVK   dv(OVV/iOS   dea  K€KXrjfMXL   KvTT/OtS. 

If  our  philologfians  and  comparative  grammarians  could 
be  induced  to  forego  their  Promethean  proclivities  occasion- 
ally and  would  resolve  to  adopt  the  discredited  Epime- 
thean  methods,  they  would  learn  more  about  the  Indo- 
European  famil}"  ot  lang-uages  than  any  bare  record  of 
morphological  changes  in  quarto  volumes  can  possibh^  im- 
part. Language  is  not  simply  an  algebraic  symbol  or  com- 
bination of  symbols,  to  convey  ideas ;  it  is  not  a  mere 
mechanism,  nor  yet  a  work  of  nature,  but,  as  Brunetidre 
says,  it  is  also  a  work  of  art.  A  knowledge  of  the  individual 
is  not  gained  by  a  study  of  his  physical  growth.      As  (xoethe 

22 


says,  you  cannot  argfue  from  any  characteristics  which  a  boy 
may  have  exactly  what  kind  of  a  man  he  will  prove;  but  if  you 
take  the  other  point  of  view  and  look  backward  from  man- 
hood toward  youth,  you  can  readih^  see  how  the  man  grew 
out  of  such  a  lad.  So  with  nations.  Looking-  backward  has 
its  advantages  in  language  study  as  well  as  in  economics. 
The  genius  of  a  people,  as  mirrored  in  their  speech  can  thus 
be  discerned,  and  the  language-transformations  better  under- 
stood. With  the  Roman  each  word  is  an  entity,  is  gravely 
weighed,  meant  (cp.  Serv.  Aen.  6.724  Romanos  graves,  Gallos 
natura  feroces  atque  acrioresingenio);  with  the  Gaul  (speak- 
ing generally,  and  without  reference  to  the  ps5xhological 
fact  that  we  talk  in  phrases)  no  word  is  an  entity,  weighed, 
or  meant,  outside  of  its  belongings.  In  Latin  the  word  is 
the  unit,  is  a  sturdy  independent  Roman  soldier;  in  French 
the  only  unity  is  the  group,  the  society — the  words  flock 
together  and  solidify.  The  Italian  retains  some  of  the 
Roman  characteristics.  He  puts  his  strength  in  the  individ- 
ual word,  even  bolsters  it  up,  if  there  is  danger  of  a  vowel  or 
consonantal  break-down,  by  doubling  or  lengthening.  In 
noil  volete  venire  con  me  the  words,  whether  in  the  group  or 
out  of  it,  are  the  same.  Not  so  the  French.  Wrenched  from 
their  place,  torn  from  their  environment,  they  change  their 
ctSr;  as  the  chameleon  his  colors.  Hence  the  confusion  in  the 
mind  of  the  learner,  taught,  it  may  be,  two  diametrically 
opposed  theories  with  regard  to  French  accent,  or  a  rule, 
beautiful  in  theory,  which  he  discovers  he  can  never  put  into 
practice.  The  Gaul  had  from  time  immemorial  fighting 
ability  and  esprit.  Gallia  duas  res  industriosissime  per- 
sequitur:  rem  militarem  et  argute  logui  (Cato.  ap.  Charis.) 
The  French  language  is  a  living  proof  of  the  latter  part  of 
this  statement.  The  Frenchman  wants  to  communicate  and 
to  be  communicated  unto.  Hence  he  has,  in  the  lapse  of  cen- 
turies, created  and  perfected  an  instrument  admirably 
adapted  for  that  purpose.     He  wants  to  convey  his  concept  as 

23 


a  concept,  in  concentrated  form,  withont  taking-  the  time  and 
the  trouble  of  reducing-  it  to  analysis — he  gives  the  thought 
in  a  thoug-ht-word,  and  indicates  the  end  of  the  word-group 
b}^  voice-stress.  In  his  lang-uage  the  Frenchman  reveals  the 
characteristics  Caesar  observed  :  enthusiastic,  impulsive, 
quick-witted,  versatile,  inquisitive  (cp.  B.  G.  2.1.3;  3.9.6; 
4.5.2;  7.20).  The  Spaniard,  ag-ain,  betra3^s  his  cavalier  pro- 
clivities b}^  his  speech.  His  abruptness  and  impetuousity 
are  reflected  in  his  diphthongs.  In  fuerte  we  can  see  the 
rapier  thrust;  \n  forte,  tre^nolaj'e  the  Italian  predilection  for 
dwelling-  on  the  melodious  sounds,  to  talk  for  the  sound  of 
it;  in  fort  the  desire  for  quick  communication— no  Spanish 
superfluous  expenditure  of  energy.  As  Galdos  says  (  Cadiz 
14):  "" Esfana  es  el  fais  de  naturaleza  desnuda,  de  las^asiones 
exaltadas,  de  los  seiitiniientos  energicos  .  .  .  de  Jos  -privilegios 
que  traen  las  hichas  de  la  gtierra  contintia  del  nunca  descan- 
sary  Georg-e  Sand  ^Le  Marquis  de  Villemer  ch.  18)  speaks 
of  ^^  Cette  pose  trop  belle  et  tin  pen  thdatrcile  qui  caracterise  la 
race  espagnole.''  Now  the  Greek  had  the  rapidity  and  energ-y 
of  the  Spanish,  but  exercised  a  sober  self-control ;  had  the 
power  of  the  French  to  merg-e  sing-le  words  into  a  thought- 
complex,  but  possessed  greater  elasticit5^  The  S5"nthetic 
lang-uag-e  here -shows  its  superiority  over  the  analytic.  The 
words  do  not  lose  their  individualit}^  to  the  same  degree. 
There  is,  to  be  sure,  a  complete  destruction  of  the  word  in 
the  case  of  elision  (whereas  Latin  word-tenacit}^  made  for 
word-survival,  real  elision  being  unknown)  ;  nevertheless, 
the  single  words  in  a  Greek  sentence  retain  their  original  ac- 
cent. The  first  two  verses  of  the  Hippolytus  have  the  French 
compactness,  but  the  words  cling  together  in  the  group 
without  spasmodic  effort. 

While  ToA.v  /xoi  kA.€os  co-rt  is  possible  Greek,  I  have  not  been 
able  to  find  a  parallel.  The  comparative  {-rrXttov^  occurs  in 
Hesiod,  Thcog.  531.     The  common  phrases  are  :    ^kko^  ccrdXov, 

24 


^eya    kXcos,     kAgos    a(j>6LT0v^    aci^vqarov ^    evpv^    aafitarov,    aevaov,     ^aOv^ 

ovpavw  arrjpL^ov.  TroXvKXetTov^  Pind.  O.  6.71  (120)  IS  ver}'  diifer- 
ent  from  ttoXv  kckXtjix^vov ,    Kven  Aristophanes,    Lys.  853ff.    {ov 

yap  oiKXekq  rovvofxa  |  to  aov  Trap'  rjfXLv  i(TTiv  ovB  dv<jovv/xov ) ,  prOVCS  noth- 
ing", except,  perhaps,  how  little  the  derivation  of  the  word 
avMvvixo<s  was  felt.  We  can  say  rowo/xa  ia-rtv  avo)Vvixov^  but  not 
K€KXr)fxaL  dvu>vvfio<:  (in  this  sense  at  least),  nor  K€KXr)fxaL  a.KXei^'i.  Cp. 
Plato,  Theagcs  123  C  for  a  different  meaning-.  The  usual  sig- 
nification of  dvoW/xo?  is  inglorious^  as  in  Plato,  Leggl2\  B  kAci- 
iw  Koi  pH]  dvojj/u/xoi/.  Cp.  Hdt.  7.129.  In  Plato's  Theacietus  126  B 
we  have  di/ww/xos  and  KUXr^pxiL  in  the  same  sentence,  as  here,  but 
the  context  shows  that  avuivvp^o^  is  used  for  the  sake  of  va- 
riety, merely  as  a  neg-ative  of  K€KXr)pievo<:  (at  /xev  ala-Orjaw;  to.  tol. 

dSe  rjplv  €)^ovaLV  ovopuara  .  .  .  Kal  i-rnOvp.i.aL  kol  <fi6j3oL  KeKXyjpLfvaL  kol 
dXXai  aTTcp'xvTOL  p,kv  at  dvwvv/aot,  TrapiTrXtjOel^  Sk  at  a)vo/xa(r/xeVat).     Indeed, 

the  whole  trouble  seems  to  have  arisen  from  the  accidental 
circumstance  that  di/wi/v/xos  bears  a  certain  synonyniical  rela- 
tion to  KUX-qp.tu,  In  this  sentence  dj/wi/v/xo?  has  no  more  to  do 
with  k^kXtjiml  than  TroXXrj,  The  thought  is  simpl}^  :  ''I  am  a 
g-oddess,  powerful  and  far-famed  ;  m}^  name  is  K)'pris".'^ 

A  rather  remarkable  testimony  to  the  fact  that  Greeks 
of  the  earl 5^  centuries  of  our  era  (if,  indeed,  the  lines  were 
written  then)  considered  ttoXXtj  separate  and  apart  from  k^kX^. 
/Aat,  is  a  verse  in  the  play  on  the  passion  of  Christ,  quoted  al- 
most verbatim  from  the  Hipf>olytiis  : 

ttoXXyj  p.kv  iv  jSpoToliTLV  KOVK  avci)vvp.o<; 
dyvrj  KCKX-qcr^L  r^crSe  yrj%. 


*Hovr  easil}-  "rroXvi  and  /Acyas  could  be  interchang-ed  is  shown  by 
such  examples  as  Soph,  adesp.  157  TroAAr;  <j>ap€Tpa^  Hdt.  6.24  V  ^^  <^<^t 
TfoXXrj  .  .  .  o/3V(r<T€rai,  [Dem.]  59.99  o  yap  'Ao-oottos  7rora/xo9  /w,eyas  ippvrj 
Kal  Stal^rjvaL  ov  paSiov  rjv.      Cp.  also  the  Herodotean  /xcydAa  xPVt^ara, 


25 


UNIVERSITY  OF  ILLINOIS-URBANA 


3  0112  111534027 


